Fans pick 100 books like Mistress of the Empire

I’ve always loved the darker side of fantasy. While heroes, knights, and handsome kings can occasionally be enjoyable, I want to know the other characters who have suffered, hurt, lost, grieved, and been hardened by grim circumstances and cruel fate. Those characters demonstrate the resilience of human nature and how goodness truly can exist even in the harshest environment. I love using this darkness in my own novels to show that even the tiniest spark can shine immensely bright—a true testament to the indefatigability of our spirits.  

I've been passionate about Fantasy ever since I found a used copy of the Dragonlance Chronicles in a second-hand book store in India. I was 10 years old and immediately fell in love with the idea of fantasy worlds with magic and dragons. Soon after I read Terry Brooks, Neil Gaiman, Piers Anthony, RA Salvatore, Edgar Burroughs, and a host of other writers from the 1980s. What I like about the books I've chosen is that these characters are memorable. They are stories that can be re-read because the plot doesn't feel like rehashed tropes. The uniqueness of the settings, the challenges they face, and the solutions they engineer are what make them worth reading.

I’ve loved creating and writing stories since childhood, and my ambitions started early. I started one of my largest and longest writing endeavors back in middle school—novelizing a popular video game called Chrono Trigger—and even into adulthood, it stretched into a serious effort. I used it to hone my writing craft for years, constantly bouncing feedback off others. Eventually, people started to tell me that the best parts of that story were the scenes I added to enhance it, and I finally decided that I wanted to pursue the creation of my own fantasy series. 

My name is Alister Dray Penborn. I am a lifelong mystery lover, all the way back to my favorite childhood cartoon, Scooby-Doo, and my favorite anime, Detective Conan, or Case Closed as it was called in the US at the time of airing. It's a passion that grew over the years as I was exposed to even more great mysteries. One of the most appealing aspects is the investigation process, where a character sees the inconsistencies of crime scenes, analyzes and makes sense of events, and collects and relies on the slightest clues to act as puzzle pieces to the full picture.

I was 12 when I first played Dungeons and Dragons. I’d always been interested in swords, armour, the fight between good and evil (thank Star Wars for that) but I’d never read fantasy. D&D introduced me to it, and I fell in love with the genre. Conan was my first reading foray into fantasy, and then The Hobbit and I was hooked. I still go to the Royal Ontario Museum and stare at armour and weapons, and love visiting medieval castles. I can’t walk in the woods without picking up a stick and it becoming a sword to fight the orcs waiting for me around the next bend.

A tiny mention of the legendary ‘fragrant concubine’ in a travelogue had me search out more information… and more and more until I’d researched and written the stories of four imperial concubines in the Qing era (18th century China). Some rose to power, while others fell to madness. Their extraordinary lives within the high red walls of the Forbidden City fascinated me. Along the way I found a banished empress and a real woman who had endless myths grow up around her, as well as secondary characters like the Italian Jesuit turned court painter. An irresistible era and way of life to explore, in all its shades of light and darkness.

I am a Professor Emeritus of Comparative Literature at the University of California, Riverside. I was brought up in the family of a Chinese poetry scholar. Arriving in the States for my graduate studies at Harvard in 1982, I have engaged myself in academia here ever since. Acutely aware of, and deeply fascinated by, the cultural similarities and differences of China and the West, I have continued my learning experience, in my thirty years of college teaching, often from direct exchanges with my students. The books on my list of recommendations include both required texts chosen for my courses, and those I want to share with what Virginia Woolf called the Common Reader.

My background is in journalism, and I have traveled widely in China, including visits to Fengyang, Anhui Province, and other sites important to the Ming founding, though I currently reside in Wisconsin. The Lacquered Talisman is the first in a planned series on the Ming founding, one of the most thrilling and dramatic dynastic transitions in China’s long history. I became addicted long ago to this 14th-century tale, in part because it is such a key moment in Chinese history and yet is so unknown in the English-speaking world. Since I write historical fiction, I have curated a list of both history and fiction about imperial China for you to enjoy.

I am a translator specializing in Chinese historical novels, and also an academic researching marginalized groups in Chinese history—ethnic minorities, the disabled, people with mental health issues, and so on. The treatment of marginalized people tells you a lot about what is going on within mainstream society. I’ve always been interested in stories about people from distant times and places, and I have a particular love of long sagas, something that you can really get your teeth into. Kingdoms in Peril covers five hundred years of history: I translated this for my own enjoyment and was surprised when I realized that I’d managed to write 850,000 words for fun!

To experience another's thoughts and emotions, one first has to feel them. Eyes, lips, tongue, and teeth are involved before the brain/heart can engage. Translation of poetry is the same. My mother has sung Chinese poetry to me since forever, and English poetry came alive for me through verse speaking. I studied and taught as I wrote for many years. I cannot say I find my way into every poem I come across, but the poems I translate are ones I know and love. That is why I am passionate about translation. For me, it is not a secondary experience but a primary, primal performance art!